Empathic Vision: Affect, Trauma, and Contemporary ArtThis book analyzes contemporary visual art produced in the context of conflict and trauma from a range of countries, including Colombia, Northern Ireland, South Africa, and Australia. It focuses on what makes visual language unique, arguing that the "affective" quality of art contributes to a new understanding of the experience of trauma and loss. By extending the concept of empathy, it also demonstrates how we might, through art, make connections with people in different parts of the world whose experiences differ from our own. The book makes a distinct contribution to trauma studies, which has tended to concentrate on literary forms of expression. It also offers a sophisticated theoretical analysis of the operations of art, drawing on philosophers such as Gilles Deleuze, but setting this within a postcolonial framework. Empathic Vision will appeal to anyone interested in the role of culture in post-September 11 global politics. |
From inside the book
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Page 2
... distinction is , in effect , the rationale for this book , which looks at art as a kind of visual language of trauma and of the experi- ences of conflict and loss . It is a distinction that throws up a range of methodological problems ...
... distinction is , in effect , the rationale for this book , which looks at art as a kind of visual language of trauma and of the experi- ences of conflict and loss . It is a distinction that throws up a range of methodological problems ...
Page 35
... distinction . Unfettered by narrative framing , the affective devices they deploy are not subordinated to prescribed or didactic ends , but work to stimulate thinking in a different way . A particular conception of the re- lationship of ...
... distinction . Unfettered by narrative framing , the affective devices they deploy are not subordinated to prescribed or didactic ends , but work to stimulate thinking in a different way . A particular conception of the re- lationship of ...
Page 58
... distinction between the representational space of the mourning / fu- neral imagery and the space of her own performance , setting up a dialogic encounter between the two . The languages of sense memory and of com- mon or ordinary memory ...
... distinction between the representational space of the mourning / fu- neral imagery and the space of her own performance , setting up a dialogic encounter between the two . The languages of sense memory and of com- mon or ordinary memory ...
Contents
Trauma Affect and Art | 22 |
The Force of Trauma | 46 |
Journeys into Place | 70 |
Copyright | |
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Common terms and phrases
Aboriginal abuse affective argues artist artwork audience Australian bodily body Cape Town Chapter character common memory concept cultural death Delbo Deleuze Deleuze's Doris Salcedo embodied emotional empathy encounter engagement engender evokes experience feel figure film Gallery Gilles Deleuze global Gordon Bennett grief Guguletu Hartman History Holocaust Ian McLean Ibid identify imagery images inhabitation insofar Jacques Derrida Jean-Michel Basquiat Jill Bennett Johnston Kentridge's kind LaCapra language lived Long Night's Journey Mbelo mode moral narrative negotiation Notes to Basquiat notion objects pain painting particular Paul Seawright perception political postcolonial puppet Ractliffe Ractliffe's relationship representation response Routledge scene sensation sense memory shock simply Soho Soho's South African space suggests testimony tion trans Translated trauma trauma studies traumatic memory Truth and Reconciliation Truth Commission Ubu Roi University Press Veena Das victims viewer violence William Kentridge Willie Doherty witness York Younge's